Rare Cinematic Gems Exploring the Legacy of Three X Gordon: Cult Guide

Dir: Ernest C. Warde

Wealthy businessman Carson Burr discovers first-hand the problem of social unrest when he loses his cook and his chauffeur and he is insulted by a waiter. Burr runs for mayor to improve the labor situation and is elected. The editor of The Red Messenger organizes the streetcar drivers to begin a general strike, but Burr manages to break up the strike by personally running a streetcar and backing it up with armed guards. The anarchists capture his son, but Burr will not back down. He calls together leading businessmen and proposes a cooperative plan that brings together capital and labor and puts a stop to future strikes. Capital and labor are also brought together when Burr's daughter becomes romantically involved with his valet turned personal secretary.

Dir: Ernest C. Warde

A visual fragment from the archive: The thematic resonance of The Vicar of Wakefield perfectly mirrors the editorial trajectory of our deep dive.

Dr. Primrose, the vicar of Wakefield, enjoys life with his wife and five children. His two daughters, Olivia and Sophia, are courted by two apparent gentlemen, Mr. Burchell and Squire Thornhill, who is Dr. Primrose's landlord. But when Mr. Burchell is supposed to have seduced and abandoned Olivia, the Primrose family finds its fortunes dwindling in every sense. It is learned that Burchell is innocent of the seduction, and the real villain is unmasked, but not before Primrose and his family come very near disaster.

Dir: Ernest C. Warde

Sailor Jesse, shipwrecked off the Texas coast, naively becomes involved with a cattle rustler. Because the sheriff believes in his innocence, Jesse finds work as a cowboy, but soon becomes infatuated with Polly, the medium for fake hypnotist Bull Brooks, and marries her. When he learns that Polly married to win a bet, Jesse attempts to take her from the town's influences to open spaces, but Brooks falsely reports that she killed herself rather than go. In the mountains, Jesse meets Kate Trevor, an opera singer who moved there to help her alcoholic husband who abuses her. After Trevor drowns trying to cross a river when he sees Jesse and Kate together, they marry, have a child, and are happy until Polly and Brooks arrive. Kate and Jesse separate, but when Jesse learns that Brooks is attacking Kate, Jesse fights him. Polly shoots Brooks, but before he dies, he reveals that Polly was married to another man when she married Jesse.

Dir: Ernest C. Warde

A visual fragment from the archive: The thematic resonance of A Man in the Open perfectly mirrors the editorial trajectory of our deep dive.

Lemuel Deering's son Harvey graduates from college at the top of his class, then returns home to become a partner in his father's steel business. Because Harvey appears to be an exemplary young man who neither drinks nor smokes, when bills from liquor dealers, tobacconists, and billiard emporia pour in, the proud father is mystified. Harvey stoutly denies having contracted the bills, including one for $25,000, and Lemuel, though puzzled, believes him until the workers threaten to strike and the bank places an attachment on the mill. Lemuel is about to disown his son when Harold Morrowton, Harvey's college roommate, confesses that he forged Harvey's name to the bills because his own father refused to give him spending money, and Harvey adds that because the two were fraternity brothers, he could not betray Harold's trust. Exasperated, Lemuel orders both young men to pay their debts through hard labor in the mill.

Dir: Ernest C. Warde

John Benton is the head of a company that makes parts for ships. He is a fair and honorable man, but his partner Henry Vance is not. Vance and employee Daniel Grey sign Benton's name to orders for boilers they know to be defective. Their partners in the scheme, which involve installing the boilers in the ship so it will sink at sea and they can collect the insurance, are the agent who carries the ship's insurance and a government inspector. After the ship sinks, the conspirators hire a safecracker to plant money in Benton's safe to make it look like it was he alone who profited from the scheme. Benton is sentenced to prison. He serves 12 years and is released, and when he gets out he finds out what really happened, but the men who were responsible for it are now wealthy and have become powers in city politics. Determined to clear his name, he comes up with a plan to expose the crooks by using their tactics against them.

Dir: Ernest C. Warde

A visual fragment from the archive: The thematic resonance of More Trouble perfectly mirrors the editorial trajectory of our deep dive.

When Barbara Norton is left orphaned, she goes to live with her aunt and uncle. Time passes, now grown to adulthood, Barbara, becomes engaged to a wealthy young man who believes in pacifism. When the United States declares war on Germany, Barbara's fiance declines to enlist, and so Barbara gives him back his engagement ring and goes to France as a Red Cross nurse. En route, her steamer is torpedoed and Barbara is assumed to be drowned. Even this tragedy does not inspire the young man's patriotism and when solicited to enlist, he declares that the United States be damned. These sentiments shock an old friend of his father's, who brings the young man a copy of the book The Man Without a Country . Upon reading the book, the young man visualizes the story of Philip Nolan and is compelled to serve his country. As he is about to go to war, Barbara returns, and the two lovers embrace.

Dir: Ernest C. Warde

Sylvia Leigh's only recollection of her father was a dim memory of a distinguished-looking man who brought her to boarding school when she was a youngster. From that time he never came to see her, but letters came from him with foreign postmarks stating that "important business" kept him away. After her graduation an old family servant took her to the home she had never known. Within a few months her father appeared. Not the parent she had pictured, but a broken old man whose mind seemed ham ted by some shadow from the past. One day while they were motoring in the park he suddenly drew a revolver, and aiming it at a passing auto, exclaimed, "That man wrecked my life." But before he could pull the trigger he fell exhausted from the effort and the other car passed before Sylvia saw his face. Her father became seriously ill from the excitement. On his deathbed he made her promise to run to earth the man who ruined his life. With no clues or an inkling of what the secret was, she attempted to locate him by an ad in the papers, only to fall into a trap. A roughly-clad young man came to her rescue. Some weeks later she was surprised to find this same young man as a guest at a dance given by a girlfriend. But this time he was clad in evening dress and perfectly at home among society. Then came the blow. An incident revealed him to her as the man she had vowed to bring to atonement. She shadowed him, caught him in a compromising position, kept him captive and phoned the police. Then the fact that she still loved him rushed over her. She realized also that her father's secret was still a mystery. What will he do? Keep a deathbed promise and turn him over to the law or obey her heart? Love wins out. As a knock comes on the door she tells him she still loves him and to escape. But he only smiles, opens the door to the officers, who greet him familiarly, and then he make some remarkable disclosures to Sylvia, which brings happiness to her troubled heart.

Dir: Ernest C. Warde

A visual fragment from the archive: The thematic resonance of The False Code perfectly mirrors the editorial trajectory of our deep dive.

After learning that her stepfather, John Braun, is a spy, Ruth leaves him and starts out upon a cross-country journey. In her travels, she sees a plane crash to earth and rushes to assist its pilot, John Barker. The two fall in love and are married. In the midst of their honeymoon, war breaks out and John is called to his post, leaving Ruth alone with only the servants to protect her. In John's absence, the enemy invades the countryside, commandeers the Barker house and imprisons Ruth in her room. Meanwhile, John takes leave to search for his wife. Managing to get through the enemy line, he arrives just as Ruth, enraged at the action of the invaders, dynamites the cellar of the house. As the building explodes, Ruth and John escape in his plane.

Dir: Ernest C. Warde

Toby, a peculiar young man, lives in a shack in the Kentucky hills, spending his days drinking moonshine and whittling toys for the local children. Fearful of his influence, the villagers revive an old Kentucky statute whereby Toby may be sold into servitude for a year. Virginia Dare, horrified by these proceedings, purchases Toby for one dollar and returns with him to her Uncle Poindexter's tobacco plantation. Invigorated by his love for Virginia, Toby forsakes his whiskey habit and labors diligently on the plantation until his old friend Dink Wallerby, a moonshiner, begs Toby to care for his sick daughter Nell. En route to obtain medicine, Dink stabs a revenue officer with Toby's knife but confesses just before Toby is sentenced. Toby, at one time a lawyer, successfully defends Dink, after which a visiting judge proclaims Toby his son. Having regained his good name, Toby proposes to Virginia.

Dir: Ernest C. Warde

Lear is an old man blind to his weaknesses. He decides to divide his kingdom among his three daughters according to who recites the best declaration of love. Goneril and Regan pretend to love him but treat him cruelly. Cordelia is loyal but, confusing honesty with insolence, he disowns her.